Keed organ



2 Sheets-Sheet 1.

(No Model.)

G. W. EGAN. REED ORGAN.

No. 449,756. Patented Apr. '7, 1891.

IIVVHVTOI? '7 BY ATTORNEY.

(No Model.) 2 Sheets-Sheet 2. O. W. EGAN.

REED ORGAN.

No. 449,756. Patented Apr. 7,1891.

M'VE/VTUI? WCZMW ATTORNEY.

w, y I:

UNITED STATES PATENT OFFICE.

CHARLES lV. EGAN, ()F \VASHINGTON, DISTRICT OF (.Ol'lllMRlA.

REED-ORGAN.

SPECIFICATION forming part of Letters Patent No. 449,756, dated April '7, 1891.

Application filed May 29, 1890. Serial No- 853,563. (No model.)

To all whom it may concern.-

Be it known that I, CHARLES \Y. EGAN, a citizen of the United States, residing at \Vashington, in the District of Columbia, have invented certain new and useful Improvements in Reed-Organs; and I do hereby declare the following to be a full, clear, and exact description of the invention, such as will enable others skilled in the art to which it appertains to make and use the same.

This invention relates to improvements in musical instruments belonging to the class of reed-organs, which will be hereinafter more particularly described and pointed out.

In the drawings forming part of this specification, Figure l is a transverse section between two keys of Fig. 7, showing the air-box and reed-board. Fig. 2 is a transverse sec tion between two keys of Fig. '7 without the air-box and reed-board. Figs. 3, 4, 5, and 6 are details which will be explained hereinafter. Fig. 7 is a perspective view of a piano-forte with the device applied thereto for use.

This musical instrument, which may be called the euphonette, with a chromatic compass of three and one-half octaves, (from G basso to C in extreme alto.) is a solo instrument with more compass than any of the brass or reed instruments and within two notes of the extreme compass of that king of instruments, the violin, which it most resembles in tone, sympathy, shading, and, above all, the tremolo.

The first feature is that of the combination of the tones produced by this instrument and any piano, whereby the musical feat is accom plished of one performer playing on two separate and distinct instruments at one and the same time, the air (or right-hand score) of any piece of piano music being performed by the right hand on the euphonette, while the accompaniment (or bass score) is played on the piano with the left hand;

A simple mechanical arrangement (not shown) suffices to attach the euphonette to any piano-forte, as seen in Fig. '7, or it can be played alone.

The keys are sawed out of a solid piece. Each key is divided from its fellow by a metal Washer A, Fig. 1, and works on a stiff metal (brass) rod a, which runs through the whole of the keys and is firmly fixed in slots 1) at each fixed end K of the key-board. By this arrangement the whole key board can be moved from the body of the instrument, or any single one of the keys may be detached at will by removing the bar 13, which is fixed to the end pieces at each end over the rod, as shown. Each white key A and black key A is governed by a spring .9, which keeps that end of the key down, (its exact position over the hole being governed by the little guiderods 1%,) unless the other is pressed down on the pads c c by the finger, which being done, the air from the air-chest D rushes through the hole (Z and the reed is vibrated.

The springs s are all fixed into the springbar E, and the tension of the springs is governed by screws 6, which are screwed into the spring-bar rest F. This rest F is permanently fixed as a part of the bar B and is fastened by screws at each end of the fixed end piece K. It has a beveled edge, while each spring .9 is firmly driven into the springbar E, which bar is fastened by a series of screws to the spring-bar rest- F, and as they are screwed down the space 0 is lessened and greater or less strength'is thereby given to the springs. This governs the action of the instrument.

G is a flexible tube, which is detachably fixed in a hole g in one end of the wind-box D. The other end has a suitable mouth-piece Z. Through this tube G the air required for the reeds is supplied by the breath of the performer, thus avoiding the droning effect of all bellows, and the monotonous effect of mechanical air always given by the bellows arrangement is done away with and each note is given staccato or legato, accentuated, swelled, or diminished, and a soul of tone is given by the breath, which is governed by the performer, as in the clarinet, the oboe, the flute, and other beautiful instruments capable of the highest degree of soulfulexpression approaching to the human voice. The tremolo of the voice, so admirably imitated on stringed instruments, (notably the violin and cello,) is here produced in a novel way entirely at the will of the performer, who can by governing the air-supply press it to a beating throb or reduce it to a single pure tone in softer moods at will. This is the great beauty of the instrument. It is produced by usinga double tongue or reed I I, made of brass,silver, or alloy, iu-

stead of a single one, the duplicate reed I being tuned a mere shade flatter than the single one I. So as not to increase the size of the instrument, these double tongues or reeds are arranged point to point on the reed-board J, (seen in Fig. 4,) both of them being acted on by the raising of the same key. The flexible tube G has a siphon g, which enters the air-chamber through the air-chamber case H, this siphon g having a key L to enable the moisture of the breath to be blown out through the key, and is furnished with an amber mouth-piece Z, which completes the instrument. The air-chamber case His removably attached to the frame H by means of clamppieces M, which turn on pivot-bolts m, screwed into the frame II.

I claim I 1. The keys of a musical instrument arranged on a metal rod which runs through the whole of the keys in open slots therein,

said rod being removably secured in slots at screws e, substantially as and for the purpose 7 described.

In testimony whereof I affix my signature in presence of two witnesses.

' CHARLES W. EGAN.

Witnesses:

THOS. H. YOUNG, AUSTIN HoLooMB. 

